Last week we wrote about our tour of Sony's Pencoed factory, one of the very few places where Sony cameras are made outside of Japan
Even though some people groaned when Sony announced their XAVC codec back in October 2012, it's beginning to look like it is more than just another variation on the h.264 theme. What it may turn out to be is a rich environment for 4K production that is widely supported by NLEs and post production vendors
‘Game-changer’ is probably the most overused phrase at this year’s NAB, but in the shape of the HDC-4300 Sony might just have the real article in its hands, not just for the company itself but for the whole industry-wide introduction of 4K.
Off the top of my head, I can think of quite a lot of different kinds of flash storage device that are used by at least one sort of motion picture recording technology: multi-manufacturer standards such as CompactFlash, SD, SSD, the proprietary types including P2, SxS and AXS (in all their varieties), and expensive device-specific formats such as SR Memory, RED's flash devices, and the packs made by companies such as Codex for their general purpose recorders
You simply have to be amazed at current consumer TV technology.
While 4K is certainly not for everyone – it’s a bear to work with, manage, and store – it is true nonetheless that 4K capture produces superior HD images: the additional fineness and reduced noise contributes to much better HD than originating in HD in the first place
A day is a long time in digital video technology. And what we now know is that the battle-lines have been drawn for the fight over 4K delivery. Is this simply a squabble between obscure and proprietary systems, or the end-game in the democratisation of cinema that started with the RED One, and blossomed into the plethora of affordable cameras that start with DSLRs and go all the way up to the new Sony F55?